Erykah Badu, D’Angelo and Hiatus Kaiyote are scheduled to play this summer at Detroit’s Chene Park Amphitheater on August 4th. The performance – first brought to our attention by The Revivalist – will undoubtedly go down in history as an epic event with two of the 12-member Soulquarian collective hitting the stage in the Motor City; the hometown of legendary producer and founding Soulquarian, J Dilla. Adding to the wow factor is Aussie future-soul collective Hiatus Kaiyote, who have made a huge splash fueled in-part by the dynamism of lead singer Nai Palm‘s crazy vocal and a few glowing endorsements from a handful of modern music icons – ?uestlove and Erykah Badu included. The most exciting thing about the prospect of having these artists in the same arena is the possibility that this show could culminate in the jam of all jams. The only thing that could potentially make this lineup any better is an appearance from Prince. Get ready, Detroit! You have front row seats to a show the rest of the world can only wish to see. Do not miss it! Grab tickets for Erykah Badu, D’Angelo and Hiatus Kaiyote at Chene Park Amphitheater via Ticketmaster. Keep your ears peeled for the funk as D’Angelo’s forthcoming LP approaches.

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Let Erykah Badu look into your eyes for too long–goes the standing joke amongst the Okayplayer crew–and she will have you in her power. Consider us bewitched. We had the chance to sit down with Miss Badoula while she was here in New York for her lecture at Red Bull Music Academy and much like the RBMA audience we were by turns surprised, charmed and busting out laughing as she spoke on everything from her recent cameos on tracks from Janelle Monáe and Bonobo to her collaborative chemistry on new efforts with Thundercat to when we can expect a new Erykah Badu album (“You can expect it whenever you want to…”). Along the way she tells tales of eating and sleeping with mama’s actual gun by her side for several days to prepare for her role in Jeymes Samuel’s all-black-everything western They Die By Dawn and provides some hilarious behind the scenes DVD extras on the making of her “Window Seat” video–notorious for it’s public display of brown skin. But whether she is talking about nudity or about baring soul in the musical process, we predict Erykah Badu will have you under her spell right from the moment she introduces herself as “She ill” AKA “Green Eyes.” Watch below–but don’t look into those green eyes too long!

Videographer + Editor: Chinisha Scott

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Prince received the Icon Award last night during the 2013 Billboard Music Awards. Janelle Monáe and Erykah Badu appeared to present the award to the legendary genius and musical everyman from Minneapolis. Prince responded to the honor with a white hot performance featuring 3rdEyeGirl and a few screaming guitar solos that gave the world a taste of what a true icon looks like in action. Though short in comparison to the marathon shows and post-show performances Prince fans are used to, his set was just long enough to justify the award as well as the price of tickets to his shows – a slight point of contention during a recent interview with the Minnesota Star Tribune. The performance featured Prince’s classic “Let’s Go Crazy” and the more recent single “FixUrLifeUp” – the latter preceded by a funked out segue from bassist Ida Nielsen. Prince followed by tearing the roof off with precision against a pyrotechnic backdrop featuring the video for the song. The only thing Prince did not do during the performance was smash a guitar. Check the introduction Prince receives from the electric ladies and watch his performance below.

shouts to Yardie

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Photo by Robbie Fimano

Erykah Badu had a chat with Kendrick Lamar about music and the state of life since his meteoric rise to fame in the past two years – a phenomenon fueled in large-part by his major-label debut good kid, m.A.A.d. city, released in 2012. Their conversation – reportedly conducted via phone while Kendrick Lamar was at an airport in Denver – formed the basis of a recent feature published in Interview Magazine. The Compton rapper considered by many to be one of the hottest MCs breathing, is the author of a compelling narrative of young life in the ghetto delivered with a brand of candor and sonic ingenuity absent far too often from the major hip-hop releases of late. The hallmark of Lamar’s project is a talent more reliant on an innate and staggeringly rich trough of wisdom than the wow factor of raw lyricism, though he is nowhere near devoid of skills. During the Q&A with E. Badu, Kendrick Lamar details the joy he derives from watching his family emerge from poverty after years of having nothing – a byproduct of his success that is more immediately accessible than his ability to live in the moment as a public persona. They also discuss the effects of social media and the rappers Kendrick Lamar considers his earliest and most important influences. Check a bit of the discussion below. Scroll down to peep the full interview.

ERYKAH BADU: Can you describe how it feels to be in this cyclone of good fortune that you’re experiencing right now? How are you handling all of it?

KENDRICK LAMAR: I always thought money was something just to make me happy. But I’ve learned that I feel better being able to help my folks, ’cause we never had nothing. So just to see them excited about my career is more of a blessing than me actually having it for myself. My folks ain’t graduated from high school or nothing like that, so we always had to struggle in the family—and I come from a big family. But as far as me handling this, it’s a weird feeling because it’s like a blur right now. I think my worst problem is actually living in the moment and understanding everything that’s going on. I feel like I’m in my own bubble. People tell me all the time, “You’re crazy, going there by yourself,” because it wouldn’t have soaked in yet that I’m supposed to be quote “Kendrick Lamar”—whoever this guy’s supposed to be. I still feel like me. So it’s really about me trying to adapt—that’s like the toughest thing for me right now. I feel like I’m in my own world.

BADU: That’s great because it’s easy to get caught up in your own hype, if you will. You know, when you’re on Twitter or Facebook and there’s all of this praise—it’s easy to get caught up in all that.

LAMAR: That’s why I try my best to stay away from social media as much as possible. [laughs] When you go on your Twitter or look down your Timeline and it’s all great positivity—I love that. But at the same time, it can really divert you from what your purpose is or what you’re trying to do. And I’ve seen artists get caught up in that. I’ve seen some of my friends get caught in that. Whether you’re a small celebrity or a grand celebrity, it really triggers something in your brain, seeing all that stuff . . . So I’m real aware of it.

BADU: What are you trying to achieve as a musician, if anything at all?

LAMAR: Well, like I was saying, as a kid I was always fascinated knowing that I could be the best at something—like Jay-Z or Nas or B.I.G. But putting a positive light on where I come from is also important to me. When you think of Compton, it’s numb with negativity, even to this day. So the whole purpose of this first album was really to spark the idea of doing something different rather than doing a record that’s just about gang culture. That’s the ultimate thing I want to do in making music—to be able to inspire somebody else.

BADU: Speaking of Compton, tell me about how you grew up. You said that you come from a big family.

LAMAR: My mom’s got 14 brothers and sisters, my pop’s got 10. They started in Chicago and came to L.A. . . .Well, they actually came to Compton—just them two—in ’84, and then they had me in ’87. But they paved the way for all my uncles and aunties and my cousins—eventually everybody came out. At one particular time, in the early ’90s, we all stayed in the two black neighborhoods in Compton. So it was one of them things where it was like we were the neighborhood. So, as a kid, I was watching all of these things going on—parties, drinking, smoking, violence. But I was totally oblivious to it because I felt like it was just life. At the same time, I had birthdays and Christmas and holidays, which allowed me to actually be a kid. It gave me the ability to be a dreamer. That’s what separated me from all my homeboys—the fact that I didn’t get caught inside the reality. I was always dreaming about doing something else or going somewhere else.

>>>Read the full article at Interview Mag

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Erykah Badu and Robert Glasper hit the stage in New Orleans this past weekend for Jazzfest By Nite – a performance that also featured Yasiin Bey and The Hot 8 Brass Band at NOLA’s Sugar Mill. The video is a little grainy, but the message is abundantly clear; great music will travel past the limitations of crowd noise, heckling and camera phone footage to touch the heart with unadulterated power and sincerity. Robert Glasper and Erykah Badu offer each other praise before launching into their interpretation of “Afro Blue”, from Glasper’s Grammy Award-winning 2012 LP Black Radio. The phenomenal performance is put to bed by Durand Bernarr – the Youtube soul sensation turned Badu protégé – who absolutely kills his cameo and pretty much everything else he does. Check the performance below. Don’t ever make the mistake of missing Erykah Badu or Robert Glasper when they are in your town.

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Janelle Monáe and Erykah Badu unleashed the official video for their collaborative single “Q.U.E.E.N.” on an unsuspecting world today via BET’s 106 & Park–and the real thing proves to be every photon as visually arresting as the teaser promised. Though perfectly in keeping with Ms. Monáe’s ever-evolving personal sci fi narrative, I have to admit the futuristic intro threw me slightly–but when the music kicks in neither it nor the visuals let go. By the time Badoula steps on the scene to meet Monáe swag for swag with her afro wig and warpaint…wow. And then the shit rolls on for like another three minutes. An amazing collaboration between two amazing artists who taste great together–and judging by the all the good things Badu had to say about working with Janelle when we spoke to her last night at her RBMA lecture at the Brooklyn Museum (yes, that was a tease for a forthcoming OKP TV interview) maybe we’ll even see them together outrageously again. Watch below and cop “Q.U.E.E.N.” as a single via iTunes.

The post Janelle Monáe x Erykah Badu – “Q.U.E.E.N.” [Official Video] appeared first on Okayplayer.

Janelle Monáe and Erykah Badu deliver the official teaser for the video accompanying their collaborative track, “Q.U.E.E.N.” The video premieres today on BET‘s 106 & Park. The song is the first to drop ahead of Janelle Monáe’s forthcoming LP The Electric Lady, rumored to be arriving sometime this fall. The project will reportedly be more personal and subsequently revealing for Janelle Monáe. The single “Q.U.E.E.N.” is based upon personal conversations between she and Badu, a friend and mentor. The teaser features Janelle Monáe on a platform in her signature black and white tux, with attendants buzzing around her. Looks like it’s almost show time. Check the teaser below. Stay tuned for the premiere of the video, coming later today! Look out for an exclusive interview with Erykah Badu dropping soon on Okayplayer.com Purchase Erykah Badu and Janelle Monae’s “Q.U.E.E.N” via iTunes

The post Janelle Monáe x Erykah Badu – “Q.U.E.E.N.” (Emotion Picture) [Teaser] appeared first on Okayplayer.

The psychedelia-meets-hip hop-meets-soul 9-piece experimental outfit creatively birthed by Erykah Badu and known collectively as The Cannibanoids released an exclusive mix for Beatport, which fittingly dropped on 4/20. The group, which boasts 8 laptops, 6 keyboards, and 4 drum machines – are perhaps as innovative as they are defiant of all attempts to be succinctly labeled. In conjunction with the mix release, the folks at Beatport interviewed the crew to talk about the science of addiction and how it pertains to their music, among other things, and the results are expectantly trippy:

The concept behind the Cannabinoids is that it is a musical representation of the science of addiction. Can you elaborate on what that concept means to each of you?

Erykah Badu: How it feels to love something and want something insatiably. That’s how we want to feel about it—not necessarily about the music, but about creating it, and performing it. That was the spark, the idea.

Jah Born: In terms of the science of addiction… the collaboration itself, what we’re doing is addicting. It’s a great feeling, we love doing it. And the sound that we produce, and the music that we kick out, it draws people in. That’s how I understand the science of addiction in this project.

‘The Beat Tape Vol. 2′ is the result of a live jam session that took place a little while back in Badu’s native state of Texas, and showcases the groups ability to reject convention in the name of exploring new musical spaces. To read the rest of the interview, head to Beatport – and click the link below to download the full mix via our kinfolk at Okayfuture.

>>>The Cannibanoids ‘The Beat Tape Vol. 2′ via Okayfuture

This week, Erykah will be involved in a series of sold-out events including a lecture and DJ set as a part of Red Bull Music Academy, but if you’re unfortunate enough to have missed out on tickets, stay tuned for video of both to come later.

The post Erykah Badu Speaks On Cannibanoids – ‘The Beat Tape Vol. 2′ [Mix + Interview] appeared first on Okayplayer.

Janelle Monáe has released her new single, “Q.U.E.E.N.” off of her forthcoming album The Electric Lady. Featuring Erykah Badu, the song is a pop/funk fusion that definitely brings a Prince vibe to mind. It’s refreshing to hear a new track from both soul ladys and especially love the rap at the end. Stay tuned for more info on Janelle’s summer takeover and stream the new collab below.

The post Janelle Monáe x Erykah Badu – “Q.U.E.E.N.” appeared first on Okayplayer.

Simon Green–maker of subtly-textured electronic beats under the moniker Bonobo–sat down with Okayfuture for a track-by-track breakdown of his highly-rated new album The North Borders. In the process we get some tidbits about his work with the incomparable Erykah Badu, who cameos on “Heaven For The Sinner” (stream below). Scroll down to read what Green had to say about the collaboration and get more on the input of UKplayer Szjerdene on the album, plus studio tips on how to make drum sounds from coins dropped into water via the full track-by-track.

On “Heaven For The Sinner” f/ Erykah Badu:

“I had this beat for a little while, and it was very simple. The point where I made it, it was just an 8-bar loop. I met Erykah– last year, 2012 we were on the same bill for a few festivals, one was Decibel in Seattle, she had a show on one night and I played the same place on the next night–so we had met earlier. I met her as well because I had done a remix for this project that she was involved in, this “Re:Generation” film where her and Mark Ronson were in New Orleans, Zigaboo Modaliste was down there, Mos Def was on it, Trombone Shorty as well. It was a real old-style New Orleans shuffle kind of track – and I got to remix it. I kind of remixed it as a way of getting Erykah’s attention I think, that was the objective. It did work, eventually. The next thing, I was invited down when they were doing that track on Letterman; Zigaboo, Mark Ronson and everyone else. That’s where I met her, and it was cool. We immediately realized that there was a connection, musically – we knew a lot of the same people, we were into a lot of the same stuff, the conversation just seemed to be very easy in that respect. I don’t know how familiar she was with my stuff, but she liked what I was doing, I think. She’s a fan of music first, she wanted to hear the tracks. She wasn’t going to agree to do something unless she was feeling the track. The track I sent her, this one, it was very basic at the time – I extended the loop out a little, but I just really liked the way it swung. One of my favorite tracks of hers is “The Healer,” which is the Madlib beat, and I felt this kind of had a little bit of a nod to that.

I just felt like it would fit really well. So you know, it wasn’t an overblown – you know, working with Erykah I could’ve gone this route of really grandiose, kind of track. But I felt this was more personal, a more human sounding loop, more of an old fashioned way of working – you know, 4-bar loop. And I have Kirsten Agresta, a harpist on Erykah’s last record, a track called “Incense” – and I had her play at the top of this track, and it just gave it the movement it needed, and Erykah was into it. And from there on we just chatted a little bit, and she was bouncing ideas backwards and forwards. She’d put a very basic idea down and send it across, and we’d just get talking and kept sending bits and pieces over. I took what she did in the studio and arranged it in a way that I felt worked structurally, and she went back in the booth and re-recorded it. We had about 5 or 6 exchanges, and we were on the phone just talking about how we wanted to figure out the arrangements and stuff. And that’s how it came about. It was just a case of finishing things in London with the string arrangements…there were some woodwinds in there as well. But the basics of it were just this loop.”

>>>Read More (via Okayfuture)

The post Okayfuture Exclusive: Bonobo Speaks On Working w/ Erykah Badu + Szjerdene On ‘The North Borders’ appeared first on Okayplayer.